I'm still here!

I feel a little like a balloon that was suddenly deflated. After all my volunteer activities ended and the opening at Russell Collection, I let a big sigh of relief and haven't reinflated myself! I'm trying to get inspired again. After such a break, its always hard to get motivated again. But I have to think of it not as a challenge but a waking, as if from a sleep... I have to begin gently and not berate myself for inactivity.

In the meantime, I am finishing a special painting for the new Seton Breast Cancer Center. Artists who showed in the Best of Texas show at Russell Collection are each contributing a 24x24 canvas in honor of Susan Lubin. My painting is a little more modern than usual and I'm enjoying it.

Two other things - Salon International opens this weekend AND I had a painting featured in the April Southwest Art in their "Art Values" section - very cool! Though they have put Russell Collection gallery in Dallas, not Austin. But, this means you need to check out my galleries and see what is available to invest now before I get famous! ;)

Moses Botkin Monthly Challenge

This month's challenge was to paint on black. Now, I used to do this regularly for awhile. I think I got the idea from Karin Jurick and I did like the drama of the color on it. But once its painted over, there isn't much point really. Then I began to paint mostly on a grayed surface, sometimes gessoing many panels at one time in a nice latex house paint actually (idea from Ken Auster) which gives a nice smooth surface. But lately I've been painting mostly onto white linen or gessoboard and using thin washes and wiping back some too to achieve more transparent passages. Its funny how my own techniques vary widely depending on my mood and subject.
This time I let the black be, and I painted only the areas of light, so the black is the clayboard surface (only thing I had in black.) It was interesting to paint only the color areas, leaving his eye sockets empty and his shoulder and her shirt and hair just unpainted essentially. All the negative space is untouched. It was a neat experiment. Now, the clayboard is thirsty, so I had to paint some of those passages several times to make the color sing. I'm curious how the others got their very dense black grounds. Will have to read on... follow their links to read more with me!


Glass Artists
5x7 oil on clayboard
©2011 Robin Cheers



Blue & Pink
9x12 pastel
©2011 Vicki Ross


Sunny Side Up
16x20 oil on board
©2011 Suzanne Berry

Sweet Reflections

4x6 oil on hardboard
©2011 Diana Moses Botkin

Not So Crystal Ball
20x24 oil on canvas
©2011 Sharman Owings



Megan Noir
4x6 oil on canvas
©2011 Ruth Andre

Birds Eye Views

After Lunch
12x12 oil on 2" cradled gessoboard


Crosswalk
14x11 oil on 2" cradled gessoboard


On the Plaza
12x12 oil on 2" cradled gessoboard

All available at Russell Collection

These are the last of the pieces I painted for the Best of Texas show. I really like these overhead views and was sort of testing them out in this market. I'd like to do some larger ones. Maybe really big. (for me, that might be 24x36) People seemed to like them so I am going to do for it.
I enjoy doing these because they are more simple and graphic in design, the shadows often are the most interesting part. I like cast shadows. I have fun with them in the museum paintings too - where a person is in the spotlight and their shadow falls on the wall with the paintings. These more modern pieces are hung unframed too on the cradled hardboard.

I've been lazing about here for the last week. I think I just needed some downtime. I had so much going on between Girl Scouts, Destination Imagination and prepping for this show. Its been nice to just "be" for awhile. And do some spring gardening. Next week is our spring break so I can do a little more R&R and then back to work. Ideas are forming!

Oh - and there is one more exciting thing going on in conjunction with Russell Collection and this show. Their Best of Texas artists have been invited to create a work on the theme of "hope" for the new Seton Breast Cancer Center. Each artist will paint a 24x24 canvas which will be previewed at Russell Collection April 6-10 in honor of Susan Lubin.

In and Out

18x20 oil on linen panel
Available at Russell Collection

Also one of my show pieces for the Best of Texas show. The opening reception Friday was really fun. A real Austin event with live music and loads of people. It all coincided well with Texas Independence Day and South by Southwest which begins next week. The variety of art is really unique I think too. The artwork ranges from the abstract to impressionist, large to small and in between. The Russell Collection offers something for every taste. I am really proud to be part of their gallery.

Sweet Spot

12x9 oil on panel
Available at Russell Collection

This is a similar setting to a painting I did of Mozarts this winter. As usual I am drawn to the unusual light to be found in interior settings. The pastry fridge radiates a pink glow and the blue light through the blinds tries to creep into the space. I almost fee like I can see the dust motes glinting through this piece too. I think I've become addicted to the coffee shop atmosphere. I've been to one of my nearby Starbucks 4 out of 5 days this week. I've been reading a lot actually. Its been really nice to wind down a bit. I'm avoiding being alone in my studio I think by surrounding myself with people and conversation - none of which I actually have to participate in! I know that people might look down on the chain coffeehouses, but I have to say that I am really comfortable in them and always meet friendly faces there. More so than some other shops. There is something to be said for consistency too. They've been kind of an extension of my living room. Comfortable places to read, check email, sketch, have a warm cuppa something and watch the world go by. I have an idea brewing too. lol

Tonight is the opening at Russell Collection. I'm anxious to meet all the other artists and see all the work together. Should be a lot of fun.

Campus Bookstore

12x36 oil on linen
Available at Russell Collection

Here is another for the show this month. Its an unusual size and its another piece I thought about for a long time before I actually painted it. I did a small study of it as well trying to work out the color and light. So often these scenes lend themselves to dark colors... dark floors, dark walls, dark tables and chairs - so much wood!
So I want to try to not resort to losing everything in heavy dark paint.


6x18 oil on linen - 30 minute study

The line that is like wainscotting in the final painting is straight (for the most part) but my camera kept giving it a fish-eyed bow. I hope its straight - will have to check that at the gallery tomorrow night and hope its not so pronounced as in this photo!

409 Bleeker Street

24x20 oil on linen
Available at Russell Collection Fine Art

This is my second favorite recent painting. Its based on photos and a plein air piece I did in the city on my last visit. That was '09. I didn't get to go last year, but I'm planning a trip for this summer with some artist friends.

If you are interested in a guided painting trip there, check out Phil Levine's site. He plans workshops with some of the best teaching artists all over the western world, and he is leading a figure painting class in the city in May. I'm not sure if I will be able to plan my trip around that, the end of school and all, but I hope to still meet up with him while there. If he's not in France - sigh.

Sweets for My Sweet

20x20 oil on linen

I thought I'd give my blog viewers a sneak peek at some of the work that is now available at Russell Collection in Austin. They are mounting their Best of Texas show featuring 10 of the Texas artists they represent, including me. It should be a fun opening reception Friday night with a diverse collection of artists and live music. If you are in town you should rsvp and attend!

This painting might be my favorite. I actually have thought about this scene for a couple of years but hadn't painted it yet. Perhaps I didn't think I could. But I am so pleased with the results. The setting is actually across from Russell Collection at Sweetish Hill Bakery. They have one of my small daily paintings on their wall. Its also a scene from their bakery. Pretty neat.

Studio Notes

I found this interesting article - notes from a talk with a conservator. I have no idea how old it is, nor confirmed all the info - so there's my disclaimer. But this part was of particular interest and I wanted to share:

VARNISH

As mentioned earlier, damar varnish can be difficult to remove from a painting without damage when aged for a long period. This becomes especially true when large amounts of damar have been used in the painting itself.

For safety sake, if one wishes to use damar in one's medium, then a synthetic varnish is advisable. Catherine highly recommended Gamblin's "Gamar" varnish. Other synthetics may still crosslink with the paint film underneath. But Gamar is a hydrocarbon based varnish that does not crosslink and removes easily with mineral spirits (which do not dissolve damar). Also, it does not yellow or crack.

Another benefit is that Gamar is flexible enough to be applied as soon as the painting is dry to the touch, instead of waiting 6 to 12 months. This means that artists can apply a full final varnish before rushing paintings out the door to galleries. Catherine says that no varnish seals out air from a painting, and that immediate varnishing will not hinder oxidation of the paint layers beneath.

Gamar comes as crystal resin and solvent that must be mixed and dissolved by the artist by shaking hourly for 8 hours. This is due to it's limited shelf life. One container of Gamar will cover 80 square feet of surface area, so an artist may want to save up a group of works to varnish at once, or else mix smaller portions for use, since it should be used up within a month of mixing.

The gloss of Gamar is meant to be comparable to damar, but some say that it is shinier. To reduce gloss, add solvent (mineral spirits) or wax medium.

No resin protects against oxidation or atmospheric moisture. Its sole purposes are to protect against dirt and atmospheric pollution, and to even out the sheen of a painting, adding depth to color.

* I don't find a Gamar from Gamsol - they have GamVAR - so I think this is a typo on the author's part. Or they've renamed their product.

Studio News

First, let me tell you that I am swamped lately - going a little crazy with Destination Imagination (tournament this Sat.!) and GS cookie sales (ends Sunday!) not to mention getting work ready for a show at Russell Collection in Austin. (some I'm really proud of so far!)

When February is over, so are all my volunteer duties and can get back to work in earnest and actually focus a little bit on it. So, if you've written me, or commented, or asked for a painting, and I am "ignoring" you... please believe that I am just way over my head right now and I WILL respond (just not in a timely manner!)

Onto other things now!
Awesome Austin interior designer Robin Callan of Room Fu has posted a nice little feature on my work on her blog. I can't wait to share the new work for the Best of Texas show! But there is still more to do and I will wait until the week of the show I think.

Weather Beaten

14x18 oil on linen

This is an oldie but goodie. I don't know why it hasn't found a home, except that its been in my studio for almost 2 years. I personally love it and am proud of it. Anyway - today I submitted it to the Oil Painters of America and maybe they will accept it in their 20th annual national exhibition. The audience in Coeur d'Alene, ID should be right for it.

Upcoming Show - Russell Collection

Moses Botkin Monthly Challenge

Always Untied
6x6 oil on panel
email me if you want this little painting

This month posed a little challenge for me, but I finally conquered CONVERSE shoes! None of my neighbors had any and it took me awhile to track some down without having to buy a pair myself. However, after seeing all the cute styles when I looked online, I kinda want a pair now. Wonder how comfortable they are? Anyway - I love the paintings this month. Very fun and creative.



Well Worn
5x7 oil on hardboard
©2011 Diana Moses Botkin



Big Red
24x24 oil on canvas
©2011 Suzanne Berry



Satin Chucks
9x12 oil on panel
©2011 Vicki Ross



Just Hanging Out
6x6 oil on hardboard
©2011 Sharman Owings



Converse Reds
6x6 oil on canvas
©2011 Ruth Andre

Imagine

14x11 oil on canvas

This little scene is my donation for the Lutheran Social Services New Life benefit Feb. 26 in Austin. I donate a painting for their event every year. New Life is a treatment center and home for abused and neglected girls ages 11-17. Its a wonderful place of healing and growth for these girls and so very important. The theme this year is "All You Need Is Love" with a bit of Beatlemania going on. The Eggmen, a really talented Beatles tribute band, will be playing after a very fine catered dinner and the live auction. Its a fun night and I'm proud to offer something to help them reach their goals to support the girls at New Life Treatment Center. If you are local, you should get tickets and enjoy the fun!

Over the Line

14x11 oil on panel

A Well Balanced Diet

12x12 oil on panel

I have no idea where I will send this yet.

Here is the painting I showed yesterday while being varnished. I'm currently stewing over how to paint a restaurant interior without so many dark colors. I did two others last week that just seem to dismal and dim. I will let you know what I come up with.

Q&A Time

I got a lot of questions about recent posts, so I thought I'd answer them here.

How long did you need to wait before you could varnish? Can you share ... what kind of varnish would you recommend?

I do not wait the recommended 6 mos. before varnishing. My paintings barely have time to dry before they are framed and sent to galleries. BUT, I paint kind of thinly, use zinc/titanium white, don't add medium and I live in Texas where there is almost no humidity in the air - indoor or out. Often my paintings are dry to the touch overnight (as is my palette... which is annoying.) I wait a week or so at least though and then test. If the color doesn't come off on the sponge, I varnish. I read something somewhere once that said it was ok. So I'm going with it. I apply it with a makeup sponge too. It goes on beautifully!
I use Synvar varnish. Its an acrylic resin and won't yellow with age. "It may be removed with mild solvents for subsequent cleaning and conservation of paintings." I wanna be sure that the conservators can clean my works later at the museum. ;-)

Do the people realize you are sketching them?

Sometimes. But most people are absorbed in their work, computers, books or conversation. A few might catch my eye and I might look elsewhere or just smile. Same thing when photographing. I take a lot of shots from the hip. And sometimes I act like a tourist and like I am aiming at some interesting object or feature, but really, the people are the element I am most interested in capturing. If well and truly busted, I just tell them that I am an artist and getting some reference material to work from. I've never had a negative encounter but I've seen one mom get mad at an artist friend for taking shots of her youngsters. So be careful about the privacy people might expect to have even in public places. I take very general shots of the whole place, not zoom in on one person.

Just curious is this from a photo ref and how were you able to take a photo of the kitchen?

This was in reference to the chef painting. Yes, it was from a photo. And this was one of those ideal times when I WAS a tourist - I figure in NYC they are used to gawkers wanting to document every aspect of their visit. The kitchen was open and I had a good view so walked over there and chatted with the chefs and took some pics. I LOVED their tall togues! Theory is that the taller the hat, the higher the rank of chef. These must be culinary geniuses! Or maybe its like the Texas saying - "the higher the hair, the closer to God."

Varnish

I sat down to varnish today finally. I've had several paintings that need it, but its been so cold I couldn't do it outside. The house stinks now and I felt lightheaded all afternoon - jk! - but the work is ready to go to galleries now.

As I was varnishing this restaurant scene, I was struck by the difference it made in the colors. So I thought I'd share. The left side is varnished, the right is not. Its quite dull in comparison. When you thin your paint with OMS or some other solvent, you break down the oil - so the paint will dry duller. Since I paint a lot of fat over lean, my paintings can really vary from gloss to flat, so I like to varnish everything to bring the colors to life, create an even surface, and of course, protect the painting from dirt, dust, oils, smoke and other environmental hazards.

Coffee House Chatter

Notes from my sketchbook:

I sit here in Starbucks - very noisy if I let myself hear it. Funny that I can tune it out. But when I listen -
"Allison, I have your nonfat vente latte." A clatter of spoons.
"Excuse me," taking an unused chair. A woman's voice carries over the lower din of voices; papers snapping when turned; espresso machine runs with a hissing rumble, like steam from a train; a blender; and a call for Ralph to get his drink.
Lastly, as I pack up, "Miss, are you leaving?"
Miss!? Thank you! ;-)
Then out the door, "I have a grande Americano...." and into the cold of a February morning.

The sketch book I have been using since '09 is a Fabriano Artist's Journal. It has 12 different colored sections of Fabriano Ingres paper. I'm in the green section right now and it actually scanned a little lighter than it is. It and the red pages have been the hardest to sketch in. Color doesn't work. Chalk might! But even black ink doesn't show up very well. But I love the book - I am going to order another because I had to search awhile to find a link for it and I don't want to miss getting one if they are scarce. This is the one that I've carried everywhere, and its got stickers in it, family notes, sketches of my daughter at Tae kwon do, sketches from many airports and planes, travel notes, and endless coffee shops! Its just a good size to stick in your bag and fairly light with the soft cover.

Too Many Chefs

12x9 oil on panel

This was a fun painting. Thinking of warm cooking fires while we watch our little snow melt outside. School was canceled of course. Snow in central Texas paralyzes the city - my neighbors laughingly called it "snowmageddon." Keep in mind, it was maybe a quarter inch. But it was fun. And its cozy inside. Soon all will be business as usual.